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2025 on Tumblr: Trends That Defined the Year

祝日 / Permanent Vacation
we're not kids anymore.
taylor price
One Nice Bug Per Day
noise dept.

★

blake kathryn
🪼

Kiana Khansmith
Jules of Nature
will byers stan first human second
Claire Keane
let's talk about Bridgerton tea, my ask is open
KIROKAZE

Kaledo Art
todays bird
Cosimo Galluzzi

@theartofmadeline

seen from United States
seen from United States

seen from Belgium
seen from Italy

seen from Argentina

seen from Türkiye
seen from Canada
seen from United Kingdom
seen from United States
seen from United States

seen from Argentina

seen from Türkiye

seen from Malaysia

seen from Malaysia
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@dicecandy
Table of Contents

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There used to be a lot of activities that took place around a populated area like a village or town, which you would encounter before you reached the town itself. Most of those crafts have either been eliminated in the developed world or now take place out of view on private land, and so modern authors don't think of them when creating fantasy worlds or writing historical fiction. I think that sprinkling those in could both enrich the worlds you're writing in and, potentially, add useful plot devices.
For example, your travelers might know that they're near civilization when they start finding trees in the woods that have been tapped, for pitch or for sap. They might find a forester's trap line and trace it back to his hut to get medical care. Maybe they retrace the passage of a peasant and his pig out hunting for truffles. If they're coming along a coast, maybe your travelers come across the pools where sea water is dried down to salt, or the furnaces where bog iron ore is smelted.
Maybe they see a column of smoke and follow it to the house-sized kilns of a potter's yard where men work making bricks or roof tiles. From miles away they could smell the unmistakeable odor of pine sap being rendered down into pitch, and follow that to a village. Or they hear the flute playing of a shepherd boy whiling away the hours in the high pasture.
They could find the clearing where the charcoal burners recently broke down an earth kiln, and follow the hoof prints and drag marks of their horse and sledge as they hauled the charcoal back to civilization. Or follow the sound of metal on stone to a quarry or gravel pit. Maybe they know they're nearly to town when they come across a clay bank with signs of recent clay gathering.
Of course around every town and city there will be farms, more densely packed the closer you are. But don't just think of fields of grains or vegetables. Think of managed woodlands, like maybe trees coppiced-- cut and then regrown--to customize the shape or size of the branches. Cows being grazed in a communal green. Waiting as a huge flock of ducks is driven across the road. Orchards in bloom.
If they're approaching by road, there will be things best done out of town. The threshing floor where grain is beaten with flails or run through crushing wheels to separate the grain from its casing, and then winnowed, using the wind to carry away the chaff. Laundresses working in the river, their linens bleaching on the grass at the drying yard. The stench of the tanners, barred from town for stinking so badly. The rushing wheel-race and great creaking wheel of the flour mill.
If it's a larger town, there might be a livestock market outside the gates, with goats milling in woven willow pens or chickens in wooden cages. Or a line of horses for the wealthier buyer or your desperate travelers. There might be a red light district, escaping the regulations of the city proper, or plain old slums. More industrial yards, like the yards where fabric is dyed (these might also smell quite bad, like rotting plant material, or urine).
There are so many things that preindustrial people did and would find familiar that we just don't know about now. So much of life was lived out in the open for anyone to see. Make your world busy and loud and colorful!
アカウント作り直したので過去絵中心にボチボチ更新していきます。
I have re-created my account.
My creator name is Nishiki Suzumori.
I will update mainly illustrations I have drawn in the past.
All illustrations may not be reproduced without permission.
English subtitles are reflected.
Please enlarge the subtitles as they are small.
Worldbuilding concept: there was a cosmic war or disaster, and the surviving gods excised from themselves the trauma it gave them. Maybe for the completely understandable "we don't want to suffer from this any more", maybe because a traumatized god is a danger to the world around them. Regardless of the reason, those formerly-deific chunks, the traumas of gods, became literal monsters.
For a variant, replace "gods" with "powerful spirits", or even "mythic heroes of days long past".
Plot hooks:
a researcher wants to study the known monsters, figure out what trauma each of them represents and what bits are shared with other monsters, and use that information to learn something about the cosmic disaster. Aside from the obvious quests of "observe / capture some monsters", why might someone want the nature of the cosmic disaster to remain unknown, and what would happen if that bit of knowledge gets revealed?
a god regrets unleashing "their" monsters on the world, and instructs their followers to focus on destroying those particular monsters. Again aside from the obvious quests, what happens if all those monsters are destroyed? Is the trauma unleashed onto the surrounding area, or does it return to the god; and if so, how is the god changed by their trauma coming back to them? Is there a method of destroying monsters that would prevent either outcome?
after a natural disaster, new monsters are observed. Were they always there, or are they newly-excised trauma; and if it's the latter, was it caused by the natural disaster, or did it cause the natural disaster? Can new disasters change the forms of old monsters? What if somebody wants to test their theories by causing their own disaster?
a doctor claims to have discovered a mortal-safe version of what the gods did aeons ago. They're secretive about their methods, but the results are undeniable: their patients feel better, and have tiny easily-contained monsters representing their traumas. Is this all a scam (possibly even a sinister plot) involving mind control and monsters who are way less harmless than they seem? Is it genuine but insufficiently-tested, and going to go horribly wrong (in one way or another) at the worst possible moment? Even if everything works as promised, what happens if someone's monsters are stolen to be used against them?
Geomorphic dungeon tutorial
Geomorphs are essentially little bits of dungeon that fit together in any orientation, and they're probably one of the most fun things I've ever messed around with when it comes to TTRPG mapping.
They're great to make when the blank page seems too intimidatong because a little 10x10 bit of a dungeon is a smaller commitment than a full dungeon, you can make them in a couple minutes, and if you get into the habit of drawing one or two every once in a while you'll soon build up a big library you can use to make dungeons of any size.
So here's how to make 'em.
Draw a 10 by 10 square. Place entrances on the 3rd and 8th square of every side
(You can actually do any size as long as all entrances are the same distance from the corner)
Draw a bit of a dungeon however you want. Not all entrances need to be accessible from each other, some can even be dead ends.
Optionally, draw some 5x10 and 5x5 ones to close off edges and corners.
Draw a lot of them
When you have a full page, cut them
(I store mine in ziploc bags to avoid losing them)
Assemble them! If you placed the entrances correctly, they should fit together no matter how you place them or rotate them.
You can ever stagger them like bricks
Then, transfer it to a more permanent medium (redraw it or just take a picture)
Here are some more examples of dungeons I've made using my geomorph set:

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My take on fantasy RPG dungeons is that if I pick two rooms at random on your map and there is only one path to get from the one to the other you shouldn't be allowed to call that thang a "dungeon".
I'm not gonna say that the battlemap cottage industry is to blame for the trends I dislike in "dungeon" design because there's A LOT more there, but I do think that for the kind of person who uses battlemaps in their games it would kinda end up being a waste if the dungeon map they're going to use was designed in such a way that, depending on which path(s) they take, the players can end up missing half of the beautifully illustrated setpieces, so there is sort of an incentive for the people who make battlemaps to end up designing them as beautifully rendered and detailed maps of places that are effectively structured like this:
@graham-folger I think this video is a very approachable and beginner-friendly breakdown of some of the techniques frequently used by Jennell Jaquays (legendary adventure designer and probably one of the most influential trans women in the history of gaming) in her dungeon design, and shows an example of applying them to an existing dungeon.
Also, if you´ve ever seen my tutorial post on how to use geomorph tiles as a tool for dungeon map design, you will notice that all of the examples of dungeons I show in that post end up being very non-linear due to the nature of how dungeon geomorphs connect to each other
So I'd say using geomorphs is a very natural way to get nonlinear dungeon maps almost effortlessly.
All the images in that post are very rough sketches, but here's are a little more polished examples of a dungeon maps I designed using my geomorph set:
This is definitely something I seriously struggle with
Trying to balance what OP is describing, and also trying to create a logical and functional structure
I try and temper this by building it in three "layers"
Layer 1: Who built the initial structure and why?
Layer 2: Who repurposed and modified it later on?
Layer 3: Who lives here now, and what do they use the place for now?
That, at least I feel, gets me good results. Lots of varying alternate paths from years of modifications
And yet I still struggle
That's sorta similar to the way i build dungeons too (my approach is usually "populated by at least two factions with conflicting goals, none of which are the original builders") and I think one of the most important tools in your belt for when you're struggling with the "logical and functional structure" part of the process is to remember that a perfectly valid answer to the question of "what purpose was this space built for?" can be "there is no one left who remembers".
Like, the original inhabitants being gone gives you a lot of leeway for not needing to have justification for the existence of every room, and it's cool to embrace how liberating that can be. Like... why are the ruined dining room and the ransacked armory connected by a secret passage that goes through a weird hexagonal room? By all means, you should try to answer that question, but if you struggle with it... well, presumably it served some purpose at some point, but as of right now its original purpose has been lost to time and the new inhabitants either haven't found it, or are using it as a secret treasure room. Of course, you should still try to come up with answers whenever you can, otherwise it will end up feeling like a cop-out to players, but it's perfectly okay and even desirable for a dungeon to have all sorts of weird nooks and crannies that no one can figure out what they were built for.
I think @maximumzombiecreator put it very well in one of her posts
If you're designing using this approach, you don't need an answer for every space. You can instead approach it the same way its new occupants did. Take it for granted that this is the space that exists, how would the new occupants use it? That weird room off to the side that's a pain to access? Well, who knows what it was built for, but it's cold storage now. This weird thoroughfare makes a perfectly good guard checkpoint. This big hole in the floor might have been used for casting spells at some point, but now it's a garbage dump. In this way, it's easy to come up with what rooms are now that doesn't require you to answer what a room was built for. Using this approach, you still want to have good answers for what a room's original purpose was some of the time. If the space just never makes sense, players will stop trying to engage with it logically, and that's a big loss. Plus, using this effect most effectively, you get a lot of value out of knowing the previous purpose of a room. It can be easy for every kitchen to feel similar, but a kitchen that's been built on what used to be a foundry is instantly more interesting and easier to get creative with. But you get to pick and choose the parts of a random layout that look interesting, or that you have an easy time answering for, and make those the parts where the original purpose shines through. And then in the spaces where you're left saying, "What is with this snarl of hallways?" you can just have the answer be, "it's a mystery. Scholars theorize it served a ritual purpose."
That's excellent advice and a great way of thinking
Thank you
Something one of my history professionals talked about was in regards to architecture. "Why was the building built this way? What purpose does this particular aspect serve? "
And sometimes the answer to that is just, "it looked cool." "It was fashionable." "Idk that's how I learned as an apprentice"
Sometimes there wasn't a purpose, sometimes it just was
One of my favorite D&D gags that I ever came up with is part of a oneshot I've run a few times where the party is hired by a young wizard to help clear out a few active security measures in a tower that the wizard inherited from her old teacher.
The first obstacle to be cleared is the re-animated skeletons that the old wizard was using for gardening help. It's a pretty straightforward fight, but during the encounter, players may notice one particular raised bed of herbs that is set back in a corner of the garden by itself.
Upon further investigation, this one raised bed is absolutely shining with magical protections. There are runes carved into the wood of the bed, gemstones inlaid in the top of it, this bed is absolutely protected out the ass... and an arcana check shows that the protections are all pointed inward, attempting to keep what's in there from getting out.
What's growing in that raised bed, you may ask? What is so dangerous that the old wizard felt the need to place all these protections?
Mint.
Stat block for the Skuttlebuddy item from TAZ: Balance
Item Idea: the Random Axe of Kindness
Every time you hit a creature with this axe, roll a d10. On a 3 or lower, the axe heals for its damage rating instead of harming your target.
inspired by the scariest words my dm has ever said to me and the subsequent coolest (AND SCARIEST) scene of my life
im so glad that this post in particular kinda blew up, if really just for the look on that same dm's face when i showed him that the funnie little meme i made about his brilliant terrifying line now has 1800 notes on tumblr. i actually treasure that honestly. it was a fantastic look on his face

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Hydra but it's a herbivore. It's basically just a 7-headed Apatosaurus.
"they do move in herds! oh wait no there's just one"
@probablybadrpgideas
Swamp Herbydra
Classification: Hydras, Dragons, Reptilian Beasts
Threat Level: Medium
The mystery of the unexpected abundance of large predatory creatures in marshes and swamps often traversed by travelling parties of adventurers has been resolved, in part, by the discovery of the herbydras, distant relatives of the much-more dreaded and familiar hydras of legend who, surprisingly, are entirely herbivorous creatures: using their multitudes of long necks to uproot aquatic plants from the marsh beds or reach up into the trees to pluck off tender branches and shoots, their plethora of heads each independently gorging itself to cooperatively fill its single stomach with as much edible vegetation with as little effort as possible: requiring massive quantities of mass and energy to fuel the incredible regenerative capacity it shares with other hydras.
This unexpected creature, in turn, has had an unusual effect on the ecology of such swampland environments. Able to quickly consume tremendous amounts of vegetation and convert it to biomass, regenerate quickly from grevious injuries, regrow multiples of its missing heads when they are lost, and even regrow new herbydras from any lost heads that manage to regrow new bodies, this creature has become vital to the existence of the various large predators of the swamps, including swamp-serpents, marsh drakes, greater wyverns, griffons and local tribes of ogres and trolls. Few creatures can successfully kill a full-grown herbydra, as even while it is a placid plant-eater it is still a powerful force to be reckoned with when provoked, armed with stomping feet, whipping tail, and a multitude of heads whose spade-shaped, leaf-shearing teeth make for lethal defensive weapons. Yet actually killing it is not in the agenda of most predators: many simply intend to make off with a few of its heads with generous servings of the nutritious neck muscle, leaving the creature alive to regrow more for later.
a list of 100+ buildings to put in your fantasy town
academy
adventurer's guild
alchemist
apiary
apothecary
aquarium
armory
art gallery
bakery
bank
barber
barracks
bathhouse
blacksmith
boathouse
book store
bookbinder
botanical garden
brothel
butcher
carpenter
cartographer
casino
castle
cobbler
coffee shop
council chamber
court house
crypt for the noble family
How high is your bleed threshold?
If you're into roleplaying, you've probably heard about bleed. But do you know what memetic bleed is, or emancipatory bleed? There is a whole network of concepts out there about what spills over between characters and players. And if you've ever wondered why not everyone experiences bleed the same way, you'll love to read about bleed thresholds.
You know that clip of Brennan Lee Mulligan, the one where he’s talking about his character Evan Kelmp? Wait, I’ll just link to it. It’s a cl
Just put this soot sprite dice holder on cults!
This is I think, my best prep tip as a DM:
When the players are about to visit a new town, pre-generate several NPCs who fit the demographics of the town, but don't give them jobs. Your town is Mostly human, with a number of halflings and gnomes? Make a list that's mostly humans with some halflings and gnomes mixed in, with names that match the vibe you're going for and maybe the barest description + a quirk of some sort.
So the list would look something like this:
Ophelia Bracegurdle, older Halfling woman who laughs a lot
Norabecka Johnson, a young human woman who seems tired
Geraldofinio Babblecock Nimsy, gnome gentleman who takes pains to maintain a fabulous mustache
Etc.
Then, when the players are like, "Can I go to the blacksmith?" You look at your list of NPCs and the one at the top is Ophelia Bracegurdle. She's your blacksmith now. Then they want to go to the tavern, where Norabecka is the innkeeper and Geraldofinio is a patron having a drink at the bar. He's using a straw so he doesn't mess up his mustache.
If they had gone to the inn first, Ophelia would have been the innkeeper with Norabecka as the patron, and then Geraldofinio should have been a blacksmith with some sort of mustache guard to keep the sparks off.
Making the list ahead of time doesn't take much time, and you can often re-use the people you never got to at the next town.
Your world will seem vibrant and interesting and like you have everything planned out.
Have fun!
Since this post has been getting a lot of notes, I would like to clarify a couple of points. This method has a few different benefits I would like people to note:
This prep is fairly simple and easy. You could use a random name generator and find lists of character quirks online or you could just make your own shit up. Because no one has any jobs or stats, you have very little you have to decide ahead of time.
It removes in-the-moment decision making from your game. Because you assign NPCs to roles as the players meet them, you don't have to pick who is gonna be the blacksmith or make up a blacksmith ahead of time.
This third point is the heart of this method for me: Randomization thwarts stereotyping. Some DMs struggle with this more than others, but I know I have made my fair share of gruff burly man blacksmiths! How many of us would really pick Ophelia Bracegurdle, older halfling woman who likes to laugh, to be the blacksmith? Honestly I probably wouldn't. But since in the example the players wanted to go to the blacksmith first, there she is. And now we have the option but not the requirement to think about why and how old Ophelia got her job. Maybe she's a widow who took over for her dead husband. Maybe she just always wanted to be a blacksmith or this town just has always had halfling ladies be their blacksmiths. Or maybe you don't think about it at all, and she's just the blacksmith because she is.
I've been in games where literally every NPC except the pretty barmaid is a man, and pretty much everyone is a light skinned dwarf, elf, or human. I've also been in games with awesome diverse characters who bring the game to life. I know I want to be a DM who creates the latter, and this system helps push back against our unconscious biases. When you have the list of everyone in the town, you can see ahead of time if you have a good gender ratio, whether your descriptions include any people with disabilities or people from different points of view.
Hey! Welcome! Since my silly garbage truck anglerfish post is getting me a bunch of attention right now, check out a post I'm actually proud of while you're here

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Fun New Treasure Table. Roll A D10!
Normal boring treasure. What a disappointment.
Just a big vat of EXP. Grab a straw, lads!
Hot indie video games, but it's the D&D world so no-one can play them.
Colony of mimics playing the long con. They act like gold until you pay for something with them, then they eat the shopkeeper. Play along and they'll share the tastier organs ;)
Crabs. The Dragon heard that they're the end point of evolution so collected them all to become the ultimate lifeform.
Holy texts all written about the GM, which the GM reads to you in excruciating detail.
All the rejected Deck Of Many Thing cards that were thrown out for being too game-breaking.
Blades In The Dark characters who are in this system as part of their latest heist. Make a fortune roll!
Massive amounts of exotic physics matter. If you take it out, it'll start a chain reaction that will destroy the world. Also, in a neat physics discovery, it looks exactly like precious stones.
Me. Please let me out. It's been years.